When you take into account that Freddie probably felt shit for a lot of the time, I think that when he WAS busy, he was about as productive as he could possibly be. I have very little doubt that the other three spent far longer in the studio than Freddie did over the same period, and Brian a lot more than the other two.

The amount of guitars on TSMGO is even more staggering when you hear the isolated tracks from it.

I guess another factor was that previously they'd have had a decent break between making albums. In the case of The Miracle and Innuendo, they pretty much went from one to the other, although they probably didn't know that the tracks they started working on, at that point, would make the basis of another album.

What is left of your dream?Just the words on your stone.A man who learnt how to teach,But forgot how to learn.

Kes wrote:In the case of The Miracle and Innuendo, they pretty much went from one to the other, although they probably didn't know that the tracks they started working on, at that point, would make the basis of another album.

Not really: 'Miracle' sessions ended in February and 'Innuendo' sessions began in November. So, they had a nine-month break. Between the end of 'Opera' (November 1975) and the beginning of 'Races' (July 1976) they had eight months (seven if we count rehearsals, which began in 'June'), which is less than nine... and they'd been touring for a lot of time in those seven months!

Kes wrote:In the case of The Miracle and Innuendo, they pretty much went from one to the other, although they probably didn't know that the tracks they started working on, at that point, would make the basis of another album.

Not really: 'Miracle' sessions ended in February and 'Innuendo' sessions began in November. So, they had a nine-month break. Between the end of 'Opera' (November 1975) and the beginning of 'Races' (July 1976) they had eight months (seven if we count rehearsals, which began in 'June'), which is less than nine... and they'd been touring for a lot of time in those seven months!

Whether it was a Queen project or not i'm Roger and Brian were mostly recording - Roger would have been putting together the next "Cross" album - which would have been "Mad Bad and Dangerous To Know" and Brian could have been putting the down the foundations for "Back to Light"

Yeah, and they guested together on the 'Rock Aid Armenia' thing but they were not involved in Queen activities other than shooting the videos. So the break between the recording sessions for the albums was nine months... which is longer than between 'Heart' and 'Opera' or between 'Opera' and 'Races' ... or 'I' and 'II', 'II' and 'Heart', etc.

sebastian wrote:Not really: 'Miracle' sessions ended in February and 'Innuendo' sessions began in November. So, they had a nine-month break. Between the end of 'Opera' (November 1975) and the beginning of 'Races' (July 1976) they had eight months (seven if we count rehearsals, which began in 'June'), which is less than nine... and they'd been touring for a lot of time in those seven months!

And this is why we love you, Seb: you truly are Queenonline's walking, talking Queen encyclopedia. Respect, Sir!

Kes wrote:The amount of guitars on TSMGO is even more staggering when you hear the isolated tracks from it.

I've never claimed to be a musical expert, but in my mind, TSMGO and Innuendo are some of the "highest production value" tracks Queen ever recorded. You're right about the isolated tracks - a real eye-opener. I wish we could hear the multitracks for Innuendo - those would be truly amazing.

Where the album stumbles, in my mind, is tracks like Ride the Wild Wind and I Can't Live With You. Those programmed drums make them almost unlistenable. Thank goodness for the Rocks' retake of the latter and Roger Taylor's live versions of the former. You know... I never really liked Ride the Wild Wind until I heard the live version from the Happiness single. Unbelievable! That ending...

I can remember when the Miracle album came out Woolworths of all places had a monthly music magazine which included an interview. I can clearly remember the quote attributed to Freddie when asked about touring: 'I've personally had it with bombastic stage lights & special effects'. This seemed very oddd when the triumphant Magic tour was less than three years earlier.

Rare Live was what we got in lieu of a Miracle tour. So I don't remember any plans for shows in 1989 but I know the band did get asked a lot about touring. Even on the eve of the release of GH2 (Oct 1991- Guitar Player magazine) Brian was still claiming the band 'might' tour the following year.

Getting back to Body Language, I hated the song until I heard the live versions from late in the Hot Space tour. Roger wisely drops the stiff hi-hat from the studio version and switches it for a jazzy ride cymbal, almost in swing time. Along with omitting the first verse this vastly improves the song. Check out the version from Nagoya 1982 in particular. Body Language apparently went down very well in the US & Japan on the Hot Space tour. But less so in Europe, only being played a couple of times.

Action This Day wrote:I can remember when the Miracle album came out Woolworths of all places had a monthly music magazine which included an interview. I can clearly remember the quote attributed to Freddie when asked about touring: 'I've personally had it with bombastic stage lights & special effects'. This seemed very oddd when the triumphant Magic tour was less than three years earlier.

Rare Live was what we got in lieu of a Miracle tour. So I don't remember any plans for shows in 1989 but I know the band did get asked a lot about touring. Even on the eve of the release of GH2 (Oct 1991- Guitar Player magazine) Brian was still claiming the band 'might' tour the following year.

They talk at length about that in the Queen for an Hour interview. It's on YouTube, give it a listen. One of the most enjoyable hours I've spent as a Queen fan.

bigV wrote:They talk at length about that in the Queen for an Hour interview. It's on YouTube, give it a listen. One of the most enjoyable hours I've spent as a Queen fan.

V.

Yes I've listened to it before, great interview.

One thing I forgot to mention in my previous post about Body Language: for me the strangest about the song is that somehow Freddie convinced first the band, then the record company that it should be the lead single off the new album. The Game was massively successful and this was the follow-up. It was important to get the lead single right and they really didn't.

The single actually did quite well in North America (US #11). Queen didn't learn their lesson though and went on to release some of the other Side A tracks as singles throughout 1982. Back Chat (#40) was their poorest UK chart position for years. Releasing Staying Power in Japan in November was taking the p*ss, months after it was clear the dance-style Queen wasn't going down well with the fans. It failed to chart.

For population reasons, particularly record buying population, being No 11 in America might have represented more copies were shipped there than if they had the No 1 in Britain. More copies = more money. In that sense, it was a success. There's no way to determine, especially back then, whether any other song (e.g. 'Put Out the Fire', which is the most 'classic-Queen' piece from that album) would've done any better, chart-wise.

sebastian wrote:For population reasons, particularly record buying population, being No 11 in America might have represented more copies were shipped there than if they had the No 1 in Britain. More copies = more money. In that sense, it was a success. There's no way to determine, especially back then, whether any other song (e.g. 'Put Out the Fire', which is the most 'classic-Queen' piece from that album) would've done any better, chart-wise.

No 11 in the States was definitely a success.

I just listened to the track again and I still dislike it. I dislike it most because of Freddie's vocals, I think. It's unthinkable for me to dislike Freddie's vocals, but he's stretching his voice too far on that track for me.

sebastian wrote:For population reasons, particularly record buying population, being No 11 in America might have represented more copies were shipped there than if they had the No 1 in Britain. More copies = more money. In that sense, it was a success. There's no way to determine, especially back then, whether any other song (e.g. 'Put Out the Fire', which is the most 'classic-Queen' piece from that album) would've done any better, chart-wise.

Yes it was considered a hit in the US. And I agree it's hard to pick another track from Hot Space that would have done better. But I think they definitely made a mistake not releasing Calling All Girls in the UK instead of Back Chat for three reasons:

1. It's a better song IMO and whilst not exactly typical of Queen, it's probably closer than Back Chat2. Roger hadn't had a song as a UK A-side up to that point3. They had a great video ready to go

Putting those 'scratch' sounds on CAG was a stupid idea though, particularly bad for potential radio airplay.

Lover Boy wrote:I've never liked those God awful scratch noises either. It detracts from an otherwise decent song. I'm curious to know who thought it was a good idea.

Well, the early 1980s thought it was a good idea . That noise annoys me in the song, it would have been better without it.

~Godspeed little one~

~Don't talk about angels Or how I'll be saved I'm no coward But I'm not that brave Rags are blowing Rain's getting near I'm done with running And it's getting dark in here~ ~Sleep in peace old friend for me you'll never die~